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About crocodile

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    A part-time Horner apologist
  • Birthday 01/16/85

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  1. "What do I hear? I don't hear anything" Karol
  2. It does follow modern trends but those elements are so well handled and mixed together that you get to see what modern scores could sound like if a proper musician is handling them. It almost made me care about the movie. I had the same impression when I heard last years' Creed. Sure, it does everything that a modern score would but it does it with so much grace. And it has a kick ass theme that you can actually remember long after leaving cinema. And with Elfman' Age of Ultron too. He managed to assimilate all tired Marvel fingerprints and mannserisms (among them the trademark ostinatos punctuated by anvil hits) and make them work with his almost swashbuckling theme. So yeah there is a way to have both old and new. It just requires a composers who know what the hell they're doing. Karol
  3. It is the best example I can think of where a modern film sound mix blends so well with a score mix. And that is also a testament to Davis' skill as an orchestrator. He knows exactly what will work well with sound design. You can hear each track clearly and yet they completely blend together. But the unfortunate side effect is that few people will notice it. Especially in the 1999 film where score is so tightly attached to picture. Not a wasted note. So it might be the best "invisible" score ever. I was completely in awe when I heard it live. Karol
  4. Well, I was hoping it would. Silly me. Karol
  5. That Howard Shore's works were greatly acclaimed and popular but never inspired a lot of following in the filmmaking landscape. That the operatic sophisticated film scores ceased to be as soon as those films left screens. In fact, this era ended as soon as POTC came up. Despite all the Oscars, millions of CD's sold, endless string of concerts... And then Peter Jackson must have felt the same way cause he treated the music in The Hobbit as another layer of sound design with no artistic or dramatic input. So I'm not talking about imitating anybody's sound (although that too never really happened). I'm talking about giving a talented musician a way to express themselves on a grand scale and in their own voice. And see that it could make money too. But nah, never happened. Not with Shore, not with Davis (yeah, Marrian, I'm aware of his influences). Instead, it just got worse. Or maybe you just caught me on a bad day. Karol
  6. One thing that always really struck me about Horner. For someone who was so longing for intellectual challenge and artistic expression, his choices of projects and dramatic tastes were somewhat limited. It became obvious to me after the whole debacle with Terrence Malick. He had a great artistic schizophrenia. Criticising Hollywood for its limitations and then picking yet another clich├ęd melodrama to work on. Slagging off Marvel and then doing Spider-Man. Strange man. Karol
  7. They were in broad strokes. That is what the producers asked for and what general public heard. When I talked about "imitators" I didn't mean literal copy, just "the type of score". Sorry if that wasn't clear. Maybe that wasn't a right word to use. Karol
  8. But you can thank Star Wars for the Enterprise theme. I'm sure that is what they were rhinking of when they rejected original cues. Karol
  9. Well, more like "flavour of a decade or two". And that's a lot. But hey, people were writing John Williams-like scores in the 1980's and everybody loved them. Or were they " flavour of the month" to you as well? Karol
  10. I guess it's not so much about the style itself but the whole approach to scoring. What was amazing about Shore's music is world building and intellectual concepts. Love them or hate them, But there was at least some kind of thinking behind them. It might be inspired by other things bit at least it feels like a complete thing. And has more than one layer of meaning. It was never a patchwork of other people's ideas. And yes, I'm not talking specifically about composers or their styles. And it never caught on. Karol
  11. I agree with you guys. And Back to Gaya was hardly top shelf Kamen. But it's lively they care enough to do this. I've listened to it only once though so will explore it further. Karol
  12. He did sort of hint at this type of writing in March of the Resistance. But that was supposed to evoke his style of old. And no, Stefan. I'm not making comments in regards to quality of music. But to be iconic, as many people seems to say it is, it would need to inspire something. Karol
  13. In a sense that Shore's music is often referred to as a masterpiece, it finds its way into top of so many lists, there are countless concerts around the world... And yet it never made much of an artistic mark within its field. Karol
  14. I love both but it's interesting they never really "inspired" a lot of imitators. Karol